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Cheerful spirit

NATYA Sarita Lakshmi Choudhry’s good grasp of the nuances of Bharatanatyam, was projected with grace. VIDYA SARANYAN

Sarita Lakshmi Choudhry.Photo: R. Sathish Kumar

Apleasing smile, quick movements and effective technique were the high points of Sarita Lakshmi Choudhry’s recital for
Tamil Isai Sangam
. A disciple of Amudha Dandapani of Coimbatore, and a Class 11 student, she displayed a keen understanding of the nuances of the dance form. A pushpanjali in Gambhiranattai, Adi, followed a viruttam, ‘Arpuda Natanam’ which was in praise of Lord Ganesa. A laudable aspect of the performance was Sarita’s araimandi, which remained stable from beginning to end, despite some challenging rhythmic patterns.

The main piece, a Tamil varnam in Abhogi, was appropriate for the dancer as it was dedicated to parents, especially the mother (Annai). The caring, selfless nature of the mother who looks after every need of her child and the father, whose loving words the child dutifully obeys, were put across with simple abhinaya.

Pandanallur style

The jatis had several patterns in the Pandanallur style which sounded harmonious to the ears and were performed without slips in the reckoning of the tala.

In its totality, the varnam turned out be a mix of the old and the new, with the pattern being used to talk of matters other than Sringara or Bhakti.

A strongpoint here was the teacher’s nattuvangam that held the kalapramanam without yielding to the temptation to race.

One did, however, wish the dancer’s choice of colour of her costume was more tasteful and not so bright. Also, the sound could have been better balanced, for the violin sounded louder than the mridangam at times.

‘Maadu Meykum Kanna’ set as ragamalika, was faithfully executed with Sarita’s role playing fitting for the occasion. ‘Yaadumagininral,’ the famous Bharatiar poetry extolling Kali, which came next, would have been more dynamic but for the literal depiction of the Goddess with her tongue sticking out; it distracted from the main content. Other than this, the idea of the powerful deity was conveyed with strength.

A thillana in Hamirkalyani was performed by Sarita with a cheerful spirit.